This complex interior plays with ideas of the sacred. The duality of the word ‘dog’ reversed to ‘god’ features both in the mirrored lettering of ‘Red dog’, and in the title; and the outline which contains the interior is the shape of the converted chapel in which Ken lives, a literal ‘house of god’.
This interior is occupied by the red form of a dog who, in the Spooniverse, stands in for Anubis, god of the dead. The dog partially obscures the blue form of the Muse, here taking the guise of Venus, and the potted palm tree spans both floors against a jumble of other symbols. The world beyond the confines of the chapel is empty; all life and energy are concentrated within its walls. This could be another mindscape, with the chapel walls delineating the artist’s skull, the literal container of his thoughts.
A letter to the right reads: ‘The total removal of any kind of skill can sometimes alow [sic] a higher degree at profundity to be achieved than through technical perfection’. This is a reminder of the artist’s yearning for spiritual connection, a longing to transcend the restrictions of perfectionism and reach for something more meaningful. Below it reads ‘THE BREW OF CREATIVE JUICES. TO BE DRUNK 100% FOR ARTIST’S BLOCK’. This allows us, the viewer to be somehow a part of the creative process, no longer simply a witness to the final product but instead to see the struggle of creation, the human endeavour that a painting requires to exist as a three-dimensional object in our world.